Stockhausen 75 years on August 22nd 2003

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1 Stockhausen 75 years on August 22nd 2003 A work list of the 313 individually performable Stockhausen compositions and a list of all compact discs of the Complete Edition which have been released to date (2003) are included in this brochure. Contents Page Short Biography... 2 Work List Stockhausen Complete Edition on Compact Discs Books, posters and music boxes Several musicians in Europe recommended for performing Stockhausen works Selection of films on the works

2 SHORT BIOGRAPHY Karlheinz Stockhausen 1928 Born August 22nd in Mödrath near Cologne In Cologne, studied at the National Conservatory of Music (piano, music education) and at the University of Cologne (German philology, philosophy, musicology). Since l950 First compositions and performances of his own works. (In the following list, only a few of the more than 313 works and world premières are mentioned.) 1951 Serial Music: KREUZSPIEL (CROSS-PLAY), FORMEL (FORMULA), etc. Married Doris Andreae; four children with Doris: Suja (1953), Christel (1956), Markus (1957), Majella (1961) Point Music: SPIEL (PLAY), KLAVIERSTÜCKE (PIANO PIECES), SCHLAGTRIO (PERCUSSIVE TRIO), PUNKTE (POINTS), KONTRA-PUNKTE (COUNTER-POINTS) etc. In Paris, attended Olivier Messiaen s courses in rhythmics and aesthetics. Experiments in the musique concrète group at the French radio station in Paris, and realisation of an ETUDE (musique concrète). First synthesis of sound-spectra with electronically generated sine tones. Since 1953 Permanent collaborator at the Studio for Electronic Music of the West German Radio in Cologne (artistic director from , artistic consultant until 1990). Lecturer at the annual International Vacation Courses for New Music in Darmstadt from 1953 until 1974, and in The first compositions of purely Electronic Music: Elektronische STUDIEN I und II (Electronic STUDIES I and II), GESANG DER JÜNGLINGE (SONG OF THE YOUTHS): birth of Space Music and Aleatoric Music Whilst continuing to pursue research and to compose at the Studio for Electronic Music, he studied phonetics, information and communication theory with Werner Meyer-Eppler at the University of Bonn Co-editor of die Reihe, a publication series on serial music (Universal Edition, Vienna) World premières of ZEITMASZE (TIME-MEASURES) in Paris and GESANG DER JÜNGLINGE (SONG OF THE YOUTHS) in Cologne World première of KLAVIERSTÜCK XI (PIANO PIECE XI) in New York (Variable Music) Experiments in new electronic sound synthesis and spatial projections for KONTAKTE (CONTACTS). 32 concert-lectures at American universities. Since that time extended tours annually as conductor and interpreter of his own works (since 1959 with small groups of soloists). World première of GRUPPEN (GROUPS) for 3 orchestras ( ) in Cologne New Percussion Music: ZYKLUS (CYCLE), REFRAIN World première of KONTAKTE (CONTACTS) for electronic sounds, piano and percussion in Cologne, and world première of CARRÉ for 4 orchestras and 4 choirs in Hamburg st part of MOMENTE world premièred in Cologne Founder and artistic director of the Cologne Courses for New Music. From 1964 Director of a group for performing Live Electronic Music: numerous compositions for this group (MIK- ROPHONIE I [MICROPHONY I], PROZESSION [PROCESSION], KURZWELLEN [SHORT-WAVES] etc.) Guest professor of composition at the University of Pennsylvania (Philadelphia). 2nd part of MOMENTE world premièred in Donaueschingen. World première of MIXTUR (MIXTURE) in Hamburg (live-electronic orchestra music). 2

3 1966 In Tokyo, realised two works commissioned by the Japanese Radio (NHK) Studio for Electronic Music (TELEMUSIK [TELEMUSIC] and SOLO) Guest professor for composition at the University of California (Davis) Married Mary Bauermeister; two children with Mary: Julika (1966), Simon (1967). World première of HYMNEN (ANTHEMS) electronic music with soloists World premières of KURZWELLEN (SHORT-WAVES) in Bremen, STIMMUNG (TUNING) in Paris: beginning of artistic overtone singing. SPIRAL for a soloist (world première in Zagreb, 1969). Intuitive Music: AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS), FÜR KOMMENDE ZEITEN (FOR TIMES TO COME) World première of FRESCO for 4 orchestra groups (Bonn), composition of POLE (POLES) for 2 players and EXPO for 3 players Expo 70 world fair in Osaka, Japan: Most of Stockhausen s works composed until 1970 were performed for 5! hours daily for 183 days by twenty instrumentalists and singers in a spherical auditorium conceived by the composer, thereby reaching an audience of over a million listeners. World première of POLE (POLES) for 2 players. Cosmic Music: MANTRA, world première in Donaueschingen Professor of composition at the National Conservatory of Music in Cologne (until 1977). World première of HYMNEN (ANTHEMS) with orchestra, performed by the New York Philharmonic conducted by K. Stockhausen. Park Music STERNKLANG (STAR-SOUND), world première in Berlin. Scenic Music TRANS, world première in Donaueschingen. World première of the Europe Version of MOMENTE in Bonn Scenic Music ALPHABET for LIÈGE, AM HIMMEL WANDRE ICH (IN THE SKY I AM WALKING), YLEM INORI, Adorations for dancer-mimes and orchestra, world première in Donaueschingen Composition of SIRlUS, electronic music with 4 soloists, commissioned by the German government as gift to America on the occasion of the American Bicentennial (1976): partial world première at the Albert Einstein Spacearium, Washington D.C., followed by a tour with this work in Europe, Japan, USA. In 1977 the composition SIRIUS was finished, and was performed for the first time in its entirety in August 1977 at the newly founded Centre Sirius in Aix-en-Provence World première of HARLEKIN (HARLEQUIN) for a dancing clarinetist, in Cologne In Japan, composed DER JAHRESLAUF (THE COURSE OF THE YEARS) for the Imperial Gagaku Ensemble (premièred at the National Theatre, Tokyo) Beginning of the composition of the music drama cycle LICHT (Die sieben Tage der Woche) LIGHT (The Seven Days of the Week) World première of the quasi concert version of MICHAEL S JOURNEY ROUND THE EARTH (Act II of THURSDAY from LIGHT) in Donaueschingen World première of the quasi concert version of MICHAEL S YOUTH (Act I of THURSDAY from LIGHT) in Jerusalem World première of the quasi concert version of FESTIVAL (scene of Act III of THURSDAY from LIGHT) in Amsterdam Staged world première of THURSDAY from LIGHT (circa 4 hours) at La Scala in Milan. World première of the quasi concert version of LUCIFER S DREAM (Scene 1 of SATURDAY from LIGHT) in Metz World première of the quasi concert version of LUCIFER S FAREWELL (Scene 4 of SATURDAY from LIGHT) in Assisi on the occasion of the 800th anniversary celebration of Saint Francis birth. 3

4 1983 World première of the quasi concert version of KATHINKA S CHANT (Scene 2 of SATURDAY from LIGHT) in Donaueschingen World première of the quasi concert version of LUCIFER S DANCE (Scene 3 of SATURDAY from LIGHT) in Ann Arbor (USA). Staged world première of SATURDAY from LIGHT (circa 3 hours) at the Palazzo dello Sport produced by La Scala, Milan New staging of THURSDAY from LIGHT at the Royal Opera House (Covent Garden), London. World premières of the quasi concert versions of AVE for basset-horn and alto flute in Milan and of UPPER-LIP-DANCE for piccolo trumpet and ensemble in Donaueschingen World premìere of the Soloists Version of MICHAEL S JOURNEY in Bremen. World première of the quasi concert version of EVE S SONG (scene of Act II of MONDAY from LIGHT) in Berlin. World première of the quasi concert version of EVE S MAGIC (Act III of MONDAY from LIGHT) in Metz World première of Xi for flute in Siena World premières of the quasi concert versions of EVE S FIRST BIRTH-GIVING (Act I of MONDAY from LIGHT) and of GIRLS PROCESSION, CONCEPTION with PIANO PIECE and RE-BIRTH (scenes of Act II of MONDAY from LIGHT), in Cologne. Staged world première of MONDAY from LIGHT (circa 4 hours) at La Scala, Milan. World première of WELCOME with PEACE GREETING (TUESDAY GREETING) commissioned on the occasion of the 600th anniversary celebration of the Cologne University. World premières of SUSANI S ECHO for alto flute, WINGS-OF-THE-NOSE-DANCE for percussion and synthesizer, Xi for basset-horn in Paris World premières of FLAUTINA in Vienna and CHIN-DANCE in Salzburg Octophonic Music INVASION EXPLOSION. PIETÀ for flugelhorn, soprano, octophonic electronic music World première of the version of COURSE OF THE YEARS with singers (Act I of TUESDAY from LIGHT) and the world première of the quasi concert version of INVASION PIETÀ EXPLOSION (scenes of Act II of TUESDAY from LIGHT) in Frankfurt am Main First performance of TUESDAY from LIGHT in its entirety (quasi concert version) with the world premières of the scenes BEYOND SYNTHI-FOU FAREWELL at the Gulbenkian Foundation, Lisbon. World première of SYNTHI-FOU for synthesizer and electronic music (PIANO PIECE XV) on the occasion of the presentation of the UNESCO Picasso Medal to Karlheinz Stockhausen in Cologne. World première of ELUFA for basset-horn and flute (scene of Act II of FRIDAY from LIGHT) and a series of Stockhausen concerts in Weimar. Realisation of the sound scenes of FRIDAY from LIGHT at the WDR Studio for Electronic Music Staged world première of TUESDAY from LIGHT (circa 2! hours) at the Leipzig Opera. Series of Stockhausen concerts in Brussels, Duisburg, Florence, Sofia. Composition of the HELICOPTER STRING QUARTET (of WEDNESDAY from LIGHT) Stockhausen symposium and performances of 30 Stockhausen works (most of them electro-acoustic) at the INVENTIONEN Festival, Berlin. World première of OCTOPHONY, electronic music of TUESDAY from LIGHT, at the Cologne Triennial. 7 Stockhausen works performed at the Salzburger Festspiele. Completion of the 144-minute Electronic Music with Sound Scenes and composition of the 10 real scenes of FRIDAY from LIGHT. 4

5 1995 Stockhausen cycle at the Easter Salzburger Festspiele. Composition of WORLD PARLIAMENT for a cappella choir (1st scene of WEDNESDAY from LIGHT). Stockhausen retrospective (11 concerts) at the Holland Festival in Amsterdam, during which the world premières took place of WELTRAUM / OUTER SPACE (Electronic Music of FRIDAY from LIGHT) and of the HELICOPTER STRING QUARTET (3rd scene of WEDNESDAY from LIGHT). HYMNEN with Soloists at the Salzburger Festspiele World première of WORLD PARLIAMENT for a cappella choir in Stuttgart. World première of ORCHESTRA FINALISTS for orchestra and electronic music (2nd scene of WEDNES- DAY from LIGHT) at the Holland Festival in Amsterdam. Staged world première of FRIDAY from LIGHT: FRIDAY GREETING (circa 68! min.), FRIDAY TEMPTATION Acts I and II (ca. 146 min.), FRIDAY FAREWELL (circa 78 min.) at the Leipzig Opera. Composer of the European Cultural Capital Copenhagen with 8 Stockhausen concerts. World première of LIBRA for bass clarinet and electronic music in Copenhagen. Stockhausen-Festival in Palermo in Italy with 7 concerts of his electronic music. 5 Stockhausen concerts in Huddersfield, England, including the world première of BIJOU for alto flute, bass clarinet and tape concerts of Stockhausen works during the Cologne Triennial, including the world première of the ELECTRONIC MUSIC with SOUND SCENES of FRIDAY from LIGHT at the Philharmonic Hall in Cologne. World première of LITANEI 97 for choir and conductor during the festival European Church Music 1997 in Schwäbisch Gmünd. World première of the ROTARY Woodwind Quintet at Schloß Dyck near Jüchen-Aldenhoven. World première of CAPRICORN for bass and electronic music during International Music Weeks in Orléans. Composition of MICHAELION (4th scene of WEDNESDAY from LIGHT) for choir, bass singer with shortwave receiver, flute, basset-horn, trumpet, trombone, synthesizer player, tape and sound projectionist Performances of INORI Adorations for 2 soloists and orchestra on January 16th at the Herkuslessaal, Munich, with the Symphony Orchestra of the Bavarian Radio, conducted by K. Stockhausen; on January 24th at the Concertgebouw in Amsterdam with the Radio Chamber Orchestra conducted by Péter Eötvös; on April 25th and 26th at the Cité de la Musique in Paris with the Ensemble Intercontemporain conducted by David Robertson. Stockhausen Space Music: 3 different programmes of his electronic music at the planetarium of the Cité des Sciences in Paris. Cycle of 8 Stockhausen concerts in Paris performed by the Ensemble Intercontemporain at IRCAM and the Cité de la Musique (including 4 performances of GRUPPEN for 3 orchestras conducted by Pierre Boulez, Péter Eötvös and David Robertson). World première of LECTURE ON HU in its entirety by Kathinka Pasveer on April 5th at the Audimax of the Darmstadt Technical University. World première of MICHAELION (Scene 4 of WEDNESDAY from LIGHT), performed twice on July 26th at the Prinzregenten Theater in Munich in the concert series Musica Viva (Bavarian Radio). From August 2nd through 9th the first annual Stockhausen Courses Kuerten took place. 130 participants (performers, composers, musicologists and auditors) from 22 different countries attended seminars, public dress rehearsals and 9 different Stockhausen concerts. On September 25th, 27th and 29th MOMENTE Version 1998 was performed in Cologne, Zürich and Paris by soprano Angela Tunstall together with the choir of the West German Radio, and musicians of the Musikfabrik conducted by Rupert Huber. K. Stockhausen was the sound projectionist. International Stockhausen Symposium at the Cologne University from November 11th through 14th: daily public lectures and discussions about Stockhausen s works by musicologists from Germany, France, the United States, Russia, Japan and Switzerland. Concerts every evening including the world première of the BASSETSU-TRIO for basset-horn, trumpet and trombone. 5

6 1999 From July 12th to 25th, 130 participants from 23 countries attended the Stockhausen Courses Kuerten In 6 faculty concerts and 3 participants concerts, nine programmes with works by Stockhausen were performed. World première of LICHTER WASSER / LIGHTS WATERS (SUNDAY GREETING) for soprano, tenor and orchestra with synthesizer on October 16th and a second performance on October 17th at the Baar Sporthalle in Donaueschingen during the Donaueschinger Musiktage (Southwest German Radio) The third annual Stockhausen Courses Kuerten took place from July 29th to August 6th with more than 130 composers, interpreters, musicologists and music lovers from 24 different countries (all 5 continents) attending the composition and interpretation seminars, 7 faculty concerts and 3 participants concerts. In the faculty concerts the works KOMET (COMET) as PIANO PIECE XVII for a synthesizer player and tape, COMET Version for a percussionist and tape, and 3x REFRAIN 2000 had their world premières. Composition of ENGEL-PROZESSIONEN (ANGEL PROCESSIONS) for a cappella choir, 2nd scene of SUNDAY from LIGHT (commissioned by the Dutch Radio Choir, Hilversum) The fourth annual Stockhausen Courses Kuerten took place from August 4th through August 12th, with over 130 participants attending from 25 different countries. In addition to the composition and interpretation seminars, there were 7 faculty concerts and 3 participants concerts. The works LUCIFER S FURY, THE PIED PIPER, DANCE LUCEVA!, and SUKAT were world premièred during the faculty concerts. Composition of HOCH-ZEITEN (German word with double meaning: MARRIAGES and HIGH-TIMES) for 5 choral groups and 5 orchestral groups performing simultaneously and synchronously in two different concert halls with reciprocal, transmitted inserts of each other s music. This is the final scene of SUN- DAY from LIGHT, commisioned by the Festival de Música de Canarias The fifth annual Stockhausen Courses Kuerten took place from July 27th through August 4th Once again, over 130 participants from 24 different countries attended. In addition to the composition and interpretation seminars, there were 9 faculty concerts and 3 participants concerts. The works EUROPE GREETING for winds and synthesizers and STOP and START for 6 instrumental groups had their world premières during the courses. Composition of DÜFTE ZEICHEN (SCENTS SIGNS) for 7 vocalists, boy s voice, and synthesizer, a commission of the Salzburg Festival The world première of ENGEL-PROZESSIONEN (ANGEL PROCESSIONS) for a cappella choir (2nd scene of SUNDAY from LIGHT) took place on November 9th 2002 at the Concertgebouw in Amsterdam, performed by the large choir of the Dutch radio. The German première followed on November 13th during the Berlin Festival World première of HOCH-ZEITEN / HIGH-TIMES for 5 choral and 5 orchestral groups on February 2nd 2003 in Las Palmas, performed by the choir and symphony orchestra of the West German Radio. The German première followed on February 14th in Cologne at the Philharmonic Hall and large broadcasting auditorium of the WDR simultaneously. The sixth annual Stockhausen Courses Kuerten took place from August 9th 17th Once again, circa 140 participants from 26 different countries attended. In addition to the composition and interpretation seminars, there were 9 faculty concerts and 3 participants concerts. World premières of RIGHT- EYEBROW-DANCE for clarinets, bass clarinet(s), percussionist and synthesizer player and YPSILON for basset-horn. New composition: LICHT-BILDER / LIGHT-PICTURES (3rd scene of SUNDAY from LIGHT) for bassethorn, flute with ring-modulation, tenor, trumpet with ring-modulation, synthesizer. Performance of the HELICOPTER STRING QUARTET on August 22nd (Stockhausen s 75th birthday), MANTRA on August 26th, and the world première of DÜFTE ZEICHEN / SCENTS SIGNS (4th scene of SUNDAY from LIGHT) on August 29th 2003 in Salzburg - Hallein during the Salzburg Festival. Cycle of Stockhausen works during the MUSICA Festival in Strasbourg. Already the first compositions of Point Music such as KREUZSPIEL (CROSS-PLAY) in 1951, SPIEL (PLAY) for orchestra in 1952, and KONTRA-PUNKTE (COUNTER-POINTS) in 1952/53, brought Stockhausen international fame. Since then, his works have been attacked to the extreme by some and admired by others. Fundamental achievements in music since 1950 are indelibly imprinted through his compositions: 6

7 The Serial Music, the Point Music, the Electronic Music, the New Percussion Music, the Variable Music, the New Piano Music, the Space Music, Statistical Music, Aleatoric Music, Live Electronic Music ; new syntheses of Music and Speech, of a Musical Theatre, of a Ritual Music, Scenic Music ; the Group Composition, polyphonic Process Composition, Moment Composition, Formula Composition to the present Multi-Formula Composition ; the integration of found objects (national anthems, folklore of all countries, short-wave events, sound scenes, etc.) into a World Music and a Universal Music ; the synthesis of European, African, Latin American and Asian music into a Telemusic ; the vertical Octophonic Music etc. From the beginning until now, his work can be classified as Spiritual Music ; this becomes more and more evident not only in the compositions with spiritual texts, but also in the other works via Overtone Music, Intuitive Music, Mantric Music, reaching Cosmic Music in AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS), MAN- TRA, STERNKLANG (STAR SOUND), INORI, ATMEN GIBT DAS LEBEN (BREATHING GIVES LIFE), SIRIUS, LICHT (LIGHT). Stockhausen is the perfect example of the composer who at nearly all world premières and in innumerable exemplary performances and recordings of his works world-wide either personally conducted, or performed in or directed the performance as sound projectionist. To date (2003), Stockhausen has written 313 individually performable works, including 33 compositions for orchestra, such as FORMEL (FORMULA), SPIEL (PLAY), PUNKTE (POINTS), GRUPPEN (GROUPS) for 3 orchestras, MIXTUR (MIXTURE), STOP, HYMNEN (ANTHEMS), TRANS, YLEM, INORI, JUBILÄUM (JUBILEE), DONNERSTAGS-GRUSS (THURSDAY GREETING), MICHAELs REISE UM DIE ERDE (MICHAEL S JOURNEY ROUND THE EARTH), SAMSTAGS-GRUSS (SATURDAY GREETING), LUZIFERs TANZ (LUCI- FER S DANCE), WILLKOMMEN (WELCOME), INVASION, KINDER-ORCHESTER vom FREITAG aus LICHT (CHILDREN S ORCHESTRA of FRIDAY from LIGHT), ORCHESTER-FINALISTEN (ORCHESTRA FINALISTS), LICH- TER WASSER (LICHTS WATERS) etc.; 13 works with choir and orchestra: CARRÉ for 4 orchestras and 4 choirs, MOMENTE (MOMENTS), ATMEN GIBT DAS LEBEN (BREATHING GIVES LIFE), FESTIVAL, LUZIFERs ABSCHIED (LUCIFER S FAREWELL), EVAs ERSTGEBURT (EVE S FIRST BIRTH-GIVING), EVAs ZWEITGEBURT (EVE S SECOND BIRTH-GIVING), EVAs ZAU- BER (EVE S MAGIC), FRIEDENS-GRUSS (PEACE GREETING), INVASION EXPLOSION mit ABSCHIED (with FAREWELL), KINDER-TUTTI (CHILDREN S TUTTI), HOCH-ZEITEN (HIGH TIMES); ca. 200 works of electronic or electro-acoustic music; Solo compositions for all instruments, as for example KLAVIERSTÜCKE I XVII (PIANO PIECES I XVII), ZYKLUS (CYCLE), SOLO, SPIRAL, ARIES, AMOUR, IN FREUNDSCHAFT (IN FRIENDSHIP), TIERKREIS (ZODIAC), HARLEKIN (HARLEQUIN), EINGANG und FORMEL (ENTRANCE and FORMULA), PICCOLO, SAXOPHONE, TRAUM-FORMEL (DREAM FORMULA), OBERLIPPENTANZ (UPPER-LIP-DANCE), ZUNGEN- SPITZENTANZ (TIP-OF-THE- TONGUE-DANCE), Xi, EVAs SPIEGEL (EVE S MIRROR), SUSANI, SUSANI S ECHO, ENTFÜHRUNG (ABDUCTION), FLAUTINA, YPSILON, PIETÀ, SIGNALE (SIGNALS), FREIA, BASSETSU, THINKI; Chamber music of widely varying instrumentation, such as KREUZSPIEL (CROSS-PLAY), SCHLAGTRIO (PER- CUSSIVE TRIO), KONTRA-PUNKTE (COUNTER-POINTS), ZEITMASZE (TIME-MEASURES), REFRAIN, KON- TAKTE (CONTACTS), ADIEU, PROZESSION (PROCESSION), KURZWELLEN (SHORT-WAVES), STIMMUNG (TUNING), POLE, EXPO, HERBSTMUSIK (AUTUMN MUSIC), MUSIK IM BAUCH (MUSIC IN THE BELLY), KINDHEIT (CHILDHOOD), MONDEVA (MOON-EVE), EXAMEN (EXAMINATION), HALT, MISSION und HIMMEL- FAHRT (MISSION and ASCENSION), DRACHENKAMPF (DRAGON-FIGHT), ARGUMENT, VISION, LUZIFERs TRAUM (LUCIFER S DREAM), KATHINKAs GESANG als LUZIFERs REQUIEM (KATHINKA S CHANT as LUCIFER s REQUIEM), RECHTER AUGENBRAUENTANZ (RIGHT-EYEBROW-DANCE), LINKER AUGENTANZ (LEFT-EYE-DANCE), OBERLIPPENTANZ (UPPER-LIP-DANCE), ZUNGENSPITZENTANZ (TIP-OF-THE-TONGUE- DANCE), KINNTANZ (CHIN-DANCE), EVAs LIED (EVE S SONG), WOCHENKREIS (CIRCLE OF THE WEEK), DIE 7 LIEDER DER TAGE (THE 7 SONGS OF THE DAYS), AVE, QUITT (EVEN), HELIKOPTER-STREICHQUARTETT (HELICOPTER STRING QUARTET), ROTARY Woodwind Quintet, BASSETSU-TRIO etc. 7

8 Many of these works last an entire evening, such as MOMENTE (MOMENTS), HYMNEN (ANTHEMS), STIMMUNG (TUNING), FRESCO, MANTRA, STERNKLANG (STAR SOUND), ALPHABET for LIÈGE, INORI, SIRIUS, DON- NERSTAG aus LICHT (THURSDAY from LIGHT) SAMSTAG aus LICHT (SATURDAY from LIGHT), MONTAG aus LICHT (MONDAY from LIGHT), GEBURTS-FEST (FESTIVAL OF BIRTH), DIENSTAG aus LICHT (TUESDAY from LIGHT), OKTOPHONIE (OCTOPHONY), FREITAG aus LICHT (FRIDAY from LIGHT), ELEKTRONISCHE MUSIK vom FREITAG (ELECTRONIC MUSIC of FRIDAY), ELEKTRONISCHE MUSIK mit TONSZENEN vom FREITAG (ELECTRONIC MUSIC with SOUND SCENES of FRIDAY), MITTWOCH aus LICHT (WEDNESDAY from LIGHT), ORCHESTER-FINALISTEN (ORCHESTRA FINALISTS), MICHAELION, HOCH-ZEITEN (HIGH-TIMES). All works which were composed until 1969 (work numbers to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, as well as the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, Kürten, Germany, and may be ordered directly. Comprehensive texts written by Stockhausen about his works are published by the Stockhausen-Verlag in TEXTE zur Musik (TEXTS about Music) volumes Stockhausen has conducted or as sound projectionist realised over 100 records of his own works. Since 1991, the Stockhausen-Verlag is releasing a complete CD edition of all recordings of Stockhausen s works, in whose interpretation and realisation he has personally taken part. Numerous monographies about Stockhausen have been published in German, English, French, Spanish, Portuguese, and Italian. A comprehensive bibliography of publications about Stockhausen s work is included in TEXTE zur Musik (TEXTS about Music) Volume 6 (1988) and Volume 10 (1998). Selected honours: 1964 German gramophone critics award; } SIMC award for orchestral works (Italy); 1968 Grand Art Prize for Music of the State of North Rhine-Westfalia; Grand Prix du Disque (France); Member of the Free Academy of the Arts, Hamburg; 1968 } Edison Prize (Holland); 1970 Member of the Royal Swedish Academy; 1973 Member of the Academy of the Arts, Berlin; 1974 Distinguished Service Cross, 1st class (Germany); 1977 Member of the Philharmonic Academy of Rome; 1979 Member of the American Academy and Institute of Arts and Letters; 1980 Member of the European Academy of Science, Arts and Letters; 1981 Prize of the Italian music critics for DONNERSTAG aus LICHT (THURSDAY from LIGHT); 1982 German gramophone prize (German Phonograph Academy); 1983 Diapason d or (France) for DONNERSTAG aus LICHT (THURSDAY from LIGHT); 1985 Commandeur dans l Ordre des Arts et des Lettres (France); 8

9 1986 Ernst von Siemens Music Prize; 1987 Honorary Member of the Royal Academy of Music, London; 1988 Honorary Citizen of the Kuerten community; 1989 Honorary Member of the American Academy of Arts and Sciences; 1990 PRIX ARS ELECTRONICA, Linz, Austria; 1991 Honorary Fellow of the Royal Irish Academy of Music; Accademico Onorario of the Accademia Nazionale di Santa Caecilia, Rome; Honorary Patron of Sound Projects Weimar; 1992 UNESCO Picasso Medal; Distinguished Service Medal of the German state North Rhine-Westfalia; German Music Publishers Society Award for the score LUCIFER S DANCE (3rd scene of SATURDAY from LIGHT); 1993 Patron of the European Flute Festival; Diapason d or for PIANO PIECES I XI and MICROPHONY I and II; 1994 German Music Publishers Society Award for the score COURSE OF THE YEARS (Act 1 of TUESDAY from LIGHT); 1995 Honorary Member of the German Society for Electro-Acoustic Music; BACH AWARD of the city of Hamburg; 1996 Honorary doctorate (Dr. phil. h. c.) of the Free University of Berlin; Composer of the European Cultural Capital Copenhagen; Edison Prize (Holland) for MANTRA; Member of the Free Academy of the Arts Leipzig; Honorary Member of the Leipzig Opera; Cologne Culture Prize; 1997 German Music Publishers Society Award for the score WORLD PARLIAMENT (1st scene of WEDNESDAY from LIGHT); Honorary member of the music ensemble LIM (Laboratorio de Interpretación Musical), Madrid; 1999 Entry in the Golden Book of the city of Cologne; 2000 German Music Publishers Society Award for the score EVE S FIRST BIRTH-GIVING (Act 1 of MONDAY from LIGHT); 2000 / The film IN ABSENTIA made by the Quay Brothers (England) to concrete and electronic music by 2001 Karlheinz Stockhausen won the Golden Dove (first prize) at the International Festival for Animated Film in Leipzig. More awards: Special Jury Mention, Montreal, FCMM 2000; Special Jury Award, Tampere 2000; Special Mention, Golden Prague Awards 2001; Honorary Diploma Award, Cracow 2001; Best Animated Short Film, 50th Melbourne International Film Festival 2001; Grand Prix, Turku Finland 2001; 2001 German Music Publishers Society Award for the score HELICOPTER STRING QUARTET (3rd scene of WEDNESDAY from LIGHT); Polar Music Prize of the Royal Swedish Academy of the Arts ( Karlheinz Stockhausen is being awarded the Polar Music Prize for 2001 for a career as a composer that has been characterized by impeccable integrity and never-ceasing creativity, and for having stood at the forefront of musical development for fifty years. ); 2002 Honorary Patron of the Sonic Arts Network, England; 2003 German Music Publishers Society Award for the score MICHAELION (4th scene of WEDNESDAY from LIGHT); 2004 Associated member of the ACADEMIE ROYALE des sciences, des lettres & des beaux-arts (Belgium); Honorary doctorate (Dr. phil. h. c.) of the Queen s University in Belfast; German Music Publishers Society Award for the score STOP and START for 6 instrumental groups. 9

10 Karlheinz Stockhausen List of Works All works which were composed until 1969 (work numbers to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, Kürten, Germany, and may be ordered directly. 1 = numeration of the individually performable works. r1 = orchestra works with at least 19 players (or fewer when the instrumentation is unconventional), and works for orchestra with choir. o1 = chamber music works. Among these are several which have more than 18 players, but are usually not performed by orchestras, but rather by chamber ensembles such as the London Sinfonietta, the Ensemble Intercontemporain, the Asko Ensemble, or Ensemble Modern. J35 = Works, which may also be performed as chamber music (for example INORI with 2 dancermimes and tape [instead of orchestra] or works for choir in which the choir may be played back on tape. 1. ex 47 = 1st derivative of Work No. 47. [9 21 ] = duration of 9 minutes and 21 seconds (durations with minutes and seconds: CD durations of the Complete Edition). U. E. = Universal Edition. St. = Stockhausen-Verlag. For most of the works, an electro-acoustic installation is indicated. Detailed information about the required equipment may be found in the scores. In very small halls (for less than 100 people), it is possible to omit amplification for some solo works and works for small ensembles. However, it must be taken into account that since 1970 Stockhausen also amplifies his PIANO PIECES, for example, in concerts (using 2 microphones) to make the timbre nuances audible from all seats in the auditorium, if at all possible. In the scores of numerous works, exact instructions for the set-up of the instruments, the gestures and movements of the interpreters, for the lighting, props, costumes and podia are given. These are not mentioned in the following list. Special microphones and receivers (not listed) belong to the transmitters indicated. Abbreviations cond. = conductor; only the works with this indication are conducted. micr. = microphone(s). loudsp. = loudspeakers. sound proj. = sound projectionist, who also controls the lighting from the mixing console in the hall (see scores). tape rec. = tape recorder. synth. player = synthesizer player. 10

11 No. CHÖRE FÜR DORIS (CHORUSES FOR DORIS) [9 21 ] U. E. for a cappella choir (cond.) 2 r1 o No. DREI LIEDER (THREE SONGS) [19 26 ] U. E. for alto voice and chamber orchestra (cond.) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) No.} CHORAL (CHORALE) [4 05 ] U. E. for choir a cappella (cond.) 4 o No.{ SONATINE (SONATINA) [10 32 ] U. E. for violin and piano 5 o No. KREUZSPIEL (CROSS-PLAY) [11 29 ] U. E. for oboe, bass clarinet, piano, 3 percussionists (cond.) (4 micr., 2 x 2 loudsp., mixing console / sound proj.) 6 r2 o No.] FORMEL (FORMULA) [12 57 ] U. E. for orchestra [28 players] (cond.) (3 ob. / 3 cl. / 3 bsn. / 3 hn. / 6 vl. / 3 vc. / 3 db. / vibr. / celesta / piano / harp) No.[ ETUDE (musique concrète) [3 15 ] St. (2-track tape rec., 2 x 2 loudsp., mixing console / sound proj.) 8 r No.? SPIEL (PLAY) [16 01 ] U. E. for orchestra (cond.) 9 o No.ß SCHLAGTRIO (PERCUSSIVE TRIO) [15 15 ] U. E. for piano and 2 x 3 timpani (2 micr., 2 x 2 loudsp., mixing console / sound proj.) 10 r / No.! PUNKTE (POINTS) [ca. 27 ] U. E for orchestra (with corrections until 1993) (cond.) (2 x 2 micr. for 2 harps, 2 x 2 micr. for 2 pianos, 4 micr. for doubles basses, 2 x 2 loudsp., mixing console / sound proj.) 11 o No. 1 KONTRA-PUNKTE (COUNTER-POINTS) [14 13 ] U. E. to 53 for 10 instruments (cond.) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) o No. 2 KLAVIERSTÜCKE I IV (PIANO PIECES I IV) [ca. 8 ] U. E No. 3/I STUDIE I (STUDY I) [9 42 ] St. (electronic music) (2-track tape rec., 2 x 2 loudsp., mixing console / sound proj.) No. 3/II STUDIE II (STUDY II) [3 20 ] St. (electronic music) (2-track tape rec., 2 x 2 loudsp., mixing console / sound proj.) o No. 4 KLAVIERSTÜCKE V X (PIANO PIECES V X) [ca. 73 ] U. E. to 55 (IX and X were finished in 1961) 24 o No. 5 ZEITMASZE (TIME-MEASURES) [14 47 ] U. E. to 56 for 5 wood-winds (cond.) (fl. / ob. / Engl. hn. / cl. / bsn.) 11

12 25 r No. 6 GRUPPEN (GROUPS) [24 25 ] U. E. to 57 for 3 orchestras (3 cond.) (microphone amplification: piano, guitar / sound proj.) 26 O No. 7 KLAVIERSTÜCK XI (PIANO PIECE XI) [ca. 14 ] U. E No. 8 GESANG DER JÜNGLINGE (SONG OF THE YOUTHS) [13 14 ] St. to 56 (electronic music) (4-track tape rec., 4 x 2 loudsp., mixing console / sound proj.) 28 O No. 9 ZYKLUS (CYCLE) for a percussionist [ca. 12 or ca. 15 ] (4 micr., 2 x 2 loudsp., mixing console / sound proj.) U. E. 29 r No. 10 CARRÉ [ca. 36 ] U. E. to 60 for 4 orchestras and 4 choirs (4 cond.) (16 micr. for choirs, 4 micr. for cymbalum, harp, harpsichord, 4 x 2 loudsp., mixing console / sound proj.) 30 O No. 11 REFRAIN [circa 12 ] U. E. for 3 players (piano / vibr. / celesta or synth.) (8 micr., 2 x 2 loudsp., mixing console / sound proj.) 31 O No. 11! 3x REFRAIN 2000 [ca. 61 ] St. for piano with 3 wood blocks, sampler celesta with 3 antique cymbals, vibraphone with 3 cowbells and glockenspiel, sound projectionist (3 transmitters, 3 micr., 2 sampler outputs, 2 x 2 loudsp., mixing console / sound proj.) No. 12 KONTAKTE (CONTACTS) for electronic sounds [35 30 ] St. to 60 (4-track tape rec., 4 x 2 loudsp., mixing console / sound proj.) 33 O No. 12! KONTAKTE (CONTACTS) [35 30 ] St. to 60 for electronic sounds, piano and percussion (4-track tape rec., 12 micr., 4 x 2 loudsp., 2 monitor loudsp., mixing console / sound proj.) No. 12ˇ ORIGINALE (ORIGINALS) [ca. 90 ] St. (Musical Theatre with KONTAKTE) 35 r No. 13 MOMENTE (MOMENTS) [113 ] St. to 64 for solo soprano, 4 choir groups and 13 instrumentalists (cond.) (finished in 69) (4 tp. / 4 trb. / 2 electr. organs or synth. / 3 perc.) (5 transmitters, 5 loudsp., mixing console / sound proj.) No. 14 PLUS-MINUS [duration undefined] U. E. 2 x 7 pages for realisation 37 O No. 15 MIKROPHONIE I (MICROPHONY I) for 6 players [ca. 28 ] U. E. with tam-tam, 2 microphones, 2 filters with potentiometers (4 x 2 loudsp.) 38 R8A 1964 No. 16 MIXTUR (MIXTURE) [ca. 27 ] U. E. for orchestra, 4 sine-wave generators and 4 ring modulators (cond.) (undefined number of microphones; the rest of the equipment as in Work No. 16! MIXTURE for small orchestra) 12

13 39 R8B O / No. 16! MIXTUR (MIXTURE) for small orchestra (cond.) [27 ] U. E (fl. / ob. / cl. / bsn. / tp. / 2 hn. / trb. / 3 perc. / 8 vl. / 4 vla. / 2 vc. / 2 db. / 4 generator players / 4 sound mixers) (4 sine-wave generators, 4 ring modulators 27 micr., 11 loudsp., mixing console / sound proj.) 40 R8C O Nr. 16ˇ MIXTUR 2003 [27 ] St. for 5 instrumental groups, 4 sine-wave generator players, 4 sound mixers with 4 ring modulators, sound projectionist (instrumentation and sound equipment as in Work No. 16! ) 41 O No. 17 MIKROPHONIE II (MICROPHONY II) [ca. 15 ] U. E. for 12 singers, Hammond organ or synthesizer, 4 ring modulators, tape (cond., timer) (2-track tape rec., 4 x 3 micr., 2 x 2 loudsp., mixing console / sound proj.) 42 R9A 1965 No. 18 STOP for orchestra (cond.) [ca. 20 ] U. E. (undefined number of microphones; the rest of the equipment as in STOP Paris Version ) 43 R9B O No. 18! STOP [20 36 ] U. E. Paris Version (19 players, cond.) for example: I ob. / piano / synth.; II synth. / tp. / vc.; III vibra. + tam-tam / bass cl. / elec. cello; IV Engl. hn. / synth. / bsn.; V cl. / vl. / harp / trb.; VI fl. / elec. bsn. / hn. (19 micr., 2 x 2 loudsp., 5 monitor loudsp., mixing console / sound proj.) 44 R9C O No. 18ˇ STOP und START (STOP and START) [21 30 ] St. for 6 instrumental groups 45 O / No. 19 SOLO for melody instrument with feedback [10! or 12 or 15! 1966 (special electro-acoustic apparatus, 4 assistants / or 17 or 20 ] U. E. 4 x 2 loudsp., mixing console / sound proj.) No. 20 TELEMUSIK (TELEMUSIC) [17 30 ] (electronic music) (8-track or 2-track tape rec. / 5 x 2 or 4 x 2 loudsp., mixing console / sound proj.) score U. E. tape St. 47 O No. 21 ADIEU for woodwind quintet (cond.) [16 13 ] U. E No. 22 HYMNEN (ANTHEMS) [114 ] St. to 67 electronic and concrete music (4-track tape rec., 4 x 2 loudsp., mixing console / sound proj.) 49 O No. 22! HYMNEN (ANTHEMS) [ca. 126 ] St. to 67 electronic and concrete music with 4 soloists (presently withdrawn) (for example: trumpet and synthesizer / trombone, euphonium and synthesizer / tam-tam and numerous other instruments / synthesizer, sampler and piano) (4-track tape rec., 6 x 2 loudsp., 4 monitor loudsp., equipment as required by the soloists, mixing console / sound proj.) 13

14 50 R No. 22ˇ HYMNEN (Dritte Region) / ANTHEMS (Third Region) [ca. 42 ] St. electronic music with orchestra (cond.) (4-track tape rec., 28 micr., 12 loudsp., mixing console / sound proj.) 51 O No. 23 PROZESSION (PROCESSION) [ca. 37 ] U. E. for tam-tam, viola, electronium or synthesizer, piano, microphonist, filterer and level controller (6 players) (4 micr., 4 x 2 loudsp., mixing console / sound proj.) 52 O No. 24 STIMMUNG (TUNING) for 6 vocalists [ca. 70 ] U. E. (sound equipment as in STIMMUNG Paris Version ) No. 24! STIMMUNG (TUNING) Paris Version [ca. 70 ] U. E. (6 micr., 6 loudsp., mixing console / sound proj.) 54 O No. 25 KURZWELLEN (SHORT-WAVES) for 6 players [ca. 55 ] U. E. (piano with short-wave receiver, electronium or synthesizer with short-wave receiver, tam-tam with short-wave receiver [2 players], elec. viola with short-wave receiver, sound projectionist with 2 filters and 4 faders) (4 short-wave receivers, 5 micr., 4 x 2 loudsp., mixing console / sound proj.) O No. 26 AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS) U. E. 15 text compositions for intuitive music (individually performable) RICHTIGE DAUERN (RIGHT DURATIONS) for ca. 4 players UNBEGRENZT (UNLIMITED) for ensemble VERBINDUNG (CONNECTION) for ensemble May be performed only by a special TREFFPUNKT (MEETING POINT) for ensemble ensemble; all works without conductor; NACHTMUSIK (NIGHT MUSIC) for ensemble all with electroacoustic ABWÄRTS (DOWNWARDS) for ensemble equipment AUFWÄRTS (UPWARDS) for ensemble Durations variable. Existent 7 CD edition: OBEN UND UNTEN (HIGH AND LOW) theatre piece for man, woman, child, 4 instrumentalists circa 7 hours INTENSITÄT (INTENSITY) for ensemble SETZ DIE SEGEL ZUR SONNE (SET SAIL FOR THE SUN) for ensemble KOMMUNION (COMMUNION) for ensemble LITANEI (LITANY) for speaker or choir ES (IT) for ensemble GOLDSTAUB (GOLD DUST) for ensemble ANKUNFT (ARRIVAL) for speaker or speech-choir 70 O No. 27 SPIRAL [integral ca. 135, for a soloist with short-wave receiver sections ] (3 micr., 2 x 2 loudsp., mixing console / sound proj.) U. E. 71 O / No. 28 Dr. K-SEXTETT [2 32 ] U. E for flute, violoncello, tubular bells and vibraphone, bass clarinet, viola, piano 72 R No. 29 FRESCO [ca. 5 hours] U. E. for 4 orchestra groups (4 cond.) 14

15 T h e f o l l o w i n g w o r k s a r e p u b l i s h e d b y t h e St oc kh au se n- Ve rl ag. 73 O No. 30 POLE (POLES) [integral at least ca. 65, to 1970 for 2 players / singers sections at least ca. 22 ] with 2 short-wave receivers (2 micr., 2 x 4 loudsp., mixing console / sound proj.) 74 O No. 31 EXPO [integral at least ca. 70, to 1970 for 3 players / singers sections at least 25 ] with 3 short-wave receivers (3 micr., 3 x 2 loudsp., mixing console / sound proj.) 75 O No. 32 MANTRA [65 72 ] for 2 pianists (with wood blocks and antique cymbales) (2 sine-wave generators, 2 ring modulators, 2-track tape rec., 6 micr., 2 x 2 loudsp., mixing console / sound proj.) O No. 33 FÜR KOMMENDE ZEITEN (FOR TIMES TO COME) to texts for intuitive music (individually performable) ÜBEREINSTIMMUNG (UNANIMITY) for ensemble VERLÄNGERUNG (ELONGATION) VERKÜRZUNG (SHORTENING) May be performed only by a special ensemble; all works without conductor; all with electroacoustic equipment. Durations variable ÜBER DIE GRENZE (ACROSS THE BOUNDARY) for small ensemble KOMMUNIKATION (COMMUNICATION) for small ensemble INTERVALL (INTERVAL) piano duet for 4 hands AUSSERHALB (OUTSIDE) for small ensemble INNERHALB (INSIDE) for small ensemble ANHALT (HALT) for small ensemble SCHWINGUNG (VIBRATION) for ensemble SPEKTREN (SPECTRA) for small ensemble WELLEN (WAVES) for ensemble ZUGVOGEL (BIRD OF PASSAGE) for ensemble VORAHNUNG (PRESENTIMENT) for 4 7 interpreters JAPAN for ensemble WACH (AWAKE) for ensemble CEYLON for small ensemble... [22 47 ] 93 R12 O No. 34 STERNKLANG (STAR SOUND) [ca. 150 ] Park Music for 5 groups (21 singers and instrumentalists) (21 micr., ca. 10 synthesizers, 22 loudsp., 5 mixers / 5 sound proj.) 94 R No. 35 TRANS [ca. 27 ] for orchestra (cond.) and tape (or 8-track tape and strings, piccolo trumpet, drummer) (2-track or 8-track tape rec., 19 micr., 13 loudsp., mixing console / sound proj.) 95 O No. 36 ALPHABET for Liège (not yet available) 13 Musical Scenes for soloists and duets (all with electro-acoustic equipment) 96 O No. 36! AM HIMMEL WANDRE ICH (IN THE SKY I AM WALKING) [51 30 ] American Indian songs for 2 voices (2 micr., 4 loudsp., mixing console / sound proj.) 15

16 97 R14 O No. 37 YLEM [ca. 26 ] for 19 players / singers (cond.) (for example 19 instr.: fl. / ob. / Engl. horn. / cl. / bass cl. / bsn. / hn. / tp. / trb. / vl. / 4 synthesizers / elec. vc. / vc. / piano / harp / vibr.) (6 micr., 2 x 2 loudsp., mixing console / sound proj.) 98 R No. 38 INORI [ca. 70 ] to 74 Adorations for one or two soloists and large orchestra (cond.) (To date, the soloists were dancer-mimes) (12 micr., 4 x 2 loudsp., mixing console / sound proj.) or (notated in the same score): INORI Adorations for one or two soloists and small orchestra (cond.) (33 instr.: 2 fl. / 2 ob. / 2 clar. [2nd also EB clar.] / 2 bsn. [2nd also contrabsn. ] / 2 trp. / 2 hn. I / 2 hn. II / 2 trb. [2nd also bass trombone] / 1 tuba / 3 vl. I / 2 vl. II / 2 vla. / 2 vc. / 2 db. / 1 piano / 4 perc.) (all instruments are amplified by microphones, 4 x 2 loudsp., mixing console / sound proj.) 99 J38ı 1973 No. 38 INORI may also be performed by one or two (or more) [ca. 70 ] to 1974 dancer-mimes and tape (2 x 2 loudsp., CD player, mixing console / sound proj.) 100 O No. 38! VORTRAG ÜBER HU (LECTURE ON HU) [ca. 83 or shorter] for a singer Musical Analysis of INORI ( fo r e x a m p l e in c o n n e c t i o n w i t h a p e r f o r m a n c e o f I N O RI) (1 transmitter, 2 x 2 loudsp., mixing console / sound proj.) 101 R / No. 39 ATMEN GIBT DAS LEBEN (BREATHING GIVES LIFE) [ca. 53 ] 1977 Choir Opera with orchestra (or tape) (orchestra with cond.) (in case tape of orchestra is used: 2-track tape rec., 2 x 2 loudsp., mixing console / sound proj.) 102 O No. 40 HERBSTMUSIK (AUTUMN MUSIC) [ca. 50 ] Musical Theatre for 4 players (16 micr., 4 x 2 loudsp., mixing console / sound proj.) 103 O No. 40! LAUB UND REGEN (LEAVES and RAIN) [ca. 11 ] final duet of AUTUMN MUSIC for clarinet and viola (2 transmitters, 2 x 2 loudsp., mixing console / sound proj.) 104 O No. 41 MUSIK IM BAUCH (MUSIC IN THE BELLY) [38 ] for 6 percussionists and music boxes (ca. 14 micr., 2 x 2 loudsp., mixing console / sound proj.) 16

17 105 O / No. 41! TIERKREIS (ZODIAC) [ca. 26 ] Melodies of the Star Signs for a melody and/or a chordal instrument 1. AQUARIUS 2. PISCES 3. ARIES 4. TAURUS 5. GEMINI 6. CANCER 7. LEO 8. VIRGO 9. LIBRA 10. SCORPIO 11. SAGITTARIUS 12. CAPRICORN O / No. 41ˇ-& TIERKREIS (ZODIAC) [ each ca. 26 ] 1975 for voice and chordal instrument individual editions for 106 high soprano or high tenor 107 soprano or tenor 108 mezzosoprano or alto or low tenor 109 baritone 110 bass 111 O / No. 41/ TIERKREIS (ZODIAC) [ca. 24 ] 1977 for chamber orchestra (poss. cond.) (clarinet, horn, bassoon, strings) 112 O / No. 41( TIERKREIS (ZODIAC) [ca. 24 ] 1981 for clarinet and piano 113 O / No. 41) TIERKREIS (ZODIAC) Trio -Version [ca. 29 ] 1983 for clarinet, flute and piccolo, trumpet and piano (3 transmitters, 3 micr., 2 x 2 loudsp., mixing console / sound proj.) 114 O / Nr. 41= TIERKREIS Version 2003 [ca. 25 ] 2003 for tenor or soprano and chordal instrument (1 transmitter, 2 x 2 loudsp., mixing console / sound proj.) 115 O No. 42 HARLEKIN (HARLEQUIN) for clarinet [ca. 45 ] 116 O No. 42! DER KLEINE HARLEKIN (THE LITTLE HARLEQUIN) [ca. 9 ] for clarinet 117 O No. 43 SIRIUS [96 ] to 77 electronic music and trumpet, soprano, bass clarinet, bass (8-track tape rec., 4 transmitters, 1 micr., 8 loudsp., mixing console / sound proj.) It is possible to perform only the 8-track electronic music: ex 43 Spring Version [ca. 96 ] ex 43 Summer Version [ca. 96 ] ex 43 Autumn Version [ca. 96 ] ex 43 Winter Version [ca. 96 ] (8-track tape rec., 8 loudsp., mixing console / sound proj.) 17

18 122 O / No. 43! ARIES [15 ] 1980 for trumpet and electronic music (8-track tape rec. [poss. 2-track tape rec.], 1 transmitter, 8 loudsp. [poss. 2 x 2 loudsp.], mixing console / sound proj.) 123 O No. 43ˇ LIBRA for bass clarinet and electronic music [33 ] (8-track tape rec. [poss. 2-track tape rec.], 1 transmitter, 2 micr., 8 loudsp. [poss. 2 x 2 loudsp.], mixing console / sound proj.) 124 O No. 43 CAPRICORN for bass and electronic music [27 ] (8-track tape rec. [poss. 2-track tape rec.], 1 transmitter, 8 loudsp. [poss. 2 x 2 loudsp.],mixing console / sound proj.) 125 O No. 44 AMOUR 5 pieces for clarinet [ca. 26 ] 126 O / No. 44! AMOUR [ca. 29 ] 1981 for flute 127 O / Nr. 44ˇ VIER STERNE (FOUR STARS) from AMOUR [ca. 12 ] 1998 for violoncello 128 O / Nr. 44 AMOUR [ca. 29 ] 2003 for saxophone 129 R No. 45 JUBILÄUM (JUBILEE) for orchestra (cond.) [16 ] (10 micr., 6 loudsp., mixing console / sound proj.) 1977 IN FREUNDSCHAFT (IN FRIENDSHIP) [ca. 15 ] individual editions for 130 O59 No. 46 clarinet 131 O60 No. 46! flute 132 O61 No. 46ˇ oboe 133 O62 No. 46 bassoon 134 O63 No. 46$ basset-horn or bass clarinet 135 O64 No. 46% violin 136 O65 No. 46& viola 137 O66 No. 46/ violoncello or double-bass 138 O67 No. 46) saxophone 139 O68 No. 46= trumpet in EB with fourth-attachment 140 O69 No. 46+ horn 141 O70 No. 46, trombone 142 O71 No. 46- tuba 143 O72 No. 46. recorder KADENZEN (CADENZAS) for Mozart s Clarinet Concerto 145, / KADENZEN (CADENZAS) 1985 for Mozart s Flute Concertos in G and D KADENZ (CADENZA) for Leopold Mozart s Trumpet Concerto / KADENZEN (CADENZAS) 1985 for Haydn s Trumpet Concerto 18

19 LICHT (LIGHT) The Seven Days of the Week for solo voices, solo instruments, solo dancers / choirs, orchestras, ballet and mimes / electronic and concrete music 149 R18A O / No. 47 JAHRESLAUF (COURSE OF THE YEARS) [ca. 61 ] 1991 (Act 1 of TUESDAY from LIGHT)) for tenor, bass / 4 dancer-mimes / actor-singer, 3 mimes, little girl, beautiful woman / modern orchestra (14 instr.), tape / sound projectionist or for tenor, bass / modern orchestra (14 instr.), tape / sound projectionist (modern orchestra: 3 synth. players / 3 piccolo flutes / 3 soprano saxophones / electr. cembalo or synthesizer / guitar / 3 percussionists) (7 transmitters, 7 micr., 2-track tape rec., 8 or 12 loudsp., mixing console / sound proj.) 150 R18B O No. 47! DER JAHRESLAUF (THE COURSE OF THE YEARS) [ca. 46 ] for modern orchestra, tape, sound projectionist (14 instruments and same equipment as No. 47, 3 transmitters) 151 O ex 47 PICCOLO (from COURSE OF THE YEARS) [ca ] solo for piccolo flute 152 O76 2. ex 47 SAXOPHONE (from COURSE OF THE YEARS) [ca. 6 ] for soprano saxophone and bongo or as solo for soprano saxophone No DONNERSTAG aus LICHT (THURSDAY from LIGHT) [ca. 240 ] to 80 Opera in three acts, a greeting and a farewell for 14 musical performers (3 solo voices, 8 solo instrumentalists, 3 solo dancers), choir, orchestra and tapes DONNERSTAGS-GRUSS (THURSDAY GREETING) Act 1 MICHAELs JUGEND (MICHAEL S YOUTH) KINDHEIT (CHILDHOOD) MONDEVA (MOON-EVE) EXAMEN (EXAMINATION) Act 2 MICHAELs REISE UM DIE ERDE Act 3 (MICHAEL S JOURNEY ROUND THE EARTH) MICHAELs HEIMKEHR (MICHAEL S HOME-COMING) FESTIVAL VISION DONNERSTAGS-ABSCHIED (THURSDAY FAREWELL) 19

20 Individual editions of THURSDAY from LIGHT: 154 R19 O No. 48 MICHAELs REISE UM DIE ERDE [ca. 50 ] (MICHAEL S JOURNEY ROUND THE EARTH) with trumpet and orchestra (cond.) (Act 2 of THURSDAY from LIGHT) (4 transmitters, 37 micr., 6 x 2 loudsp., mixing console / sound proj.) 155 O78 1. ex 48 EINGANG und FORMEL (ENTRANCE and FORMULA) [ca ] (from MICHAEL S JOURNEY) for trumpet (transmitter, 2 x 2 loudsp., mixing console / sound proj.) 156 O79 2. ex 48 HALT (from MICHAEL S JOURNEY) [ca. 15 ] for trumpet and double-bass (2 transmitters, 2 x 2 loudsp., mixing console / sound proj.) 157 O80 3. ex 48 KREUZIGUNG (CRUCIFIXION) [ca. 18 ] (from MICHAEL S JOURNEY) for trumpet and basset-horn I / clarinet, basset-horn II, 2 horns, 2 trombones, tuba, elec. organ or synthesizer (4 transmitters, 6 micr., 2 x 2 loudsp., mixing console / sound proj.) 158 O81 4. ex 48 MISSION und HIMMELFAHRT (MISSION and ASCENSION) [ca. 18 ] (from MICHAEL S JOURNEY) for trumpet and basset-horn (2 transmitters, 1 micr., 2 x 2 loudsp., mixing console/ sound proj.) 159 R20A O No. 48! DONNERSTAGS-GRUSS (MICHAELS-GRUSS) [ca. 11 ] THURSDAY GREETING (MICHAEL S GREETING) for 8 brass instruments, piano, 3 percussionists (cond.) 160 R20B O83 1. ex 48! MICHAELS-RUF (MICHAEL S CALL) [ca. 2 ] for variable ensemble (8 parts) (cond.) 161 O84 2. ex 48! MICHAELS-RUF (MICHAEL S CALL) [ca. 2 ] version for 4 trumpets 162 O / No. 48ˇ Solisten-Version MICHAELs REISE [ca. 48 ] 1984 (Soloists Version of MICHAEL S JOURNEY) for a trumpeter, 9 co-players (bhn. I, bhn. II with bass clarinet, clar., alto flute, trb. with euph., 2 synth. players, 2 percussionists) (6 transmitters, 10 micr., 2 x 2 loudsp., mixing console / sound proj.) 163 O No. 49 MICHAELs JUGEND (MICHAEL S YOUTH) [ca. 64 ] to 79 (Act 1 of THURSDAY from LIGHT) for tenor, soprano, bass / trumpet, basset-horn, trombone, piano / elec. organ or synthesizer / 3 dancer-mimes / tapes with choir and instruments (6 transmitters, 2 micr., 8-track and 2-track tape rec., 10 loudsp., mixing console / sound proj.) 20